Jul 21, 2011 3:52pm
1972-10-21 - The Phil Zone - A Summary of...
Alright, this is long so.... grab a doobie. Its essentially a play by play of a quality show, of which we only have a whacked up, dead air filled, partial recording.
This thread was inspired by the recent posts I’ve seen bkidwell compose. I’ve been meaning to do the like for a long time but never got around to it. So I figured I’d start with a favorite.
I’m sure many of you out there know a lil about this show. Mainly that its pure PHIL ZONE. This show always got me because of Phil. I think we’ve all wished we had a phil knob when we listen, being able to turn him way up in the mix. Well this is the show, and if you can’t take the bass, well stop reading.
Its also only a partial from the show, six songs from the second set. The mix also suffers from Phil being up waaaayyyy high, Keith being just barely there and Billy being low. Bobby and Jerry also vary in how audible they are, but phil is UP UP UP the whole time.
Greatest Story Ever Told
The Other One >
A decent amount of dead air/fuzz. Keys are inaudible? Solid playing 1:30 through. Donna steps in for vocals but is a bit hard to hear. Keith makes one of his early appearances throwing in a good high note tampering at 2:38. It seems that only some his higher notes are the ones showing up in the mix. Its too bad as when he does show up, he seems to be playing quite well. Using the EQ on this might help, though I usually just listen to it as is. A nice jam starts at 4:10. Its mainly the BIG 3 interacting as Keith is near inaudible and Billy is far too low. The jam ends at 4:50 “Going where the wind don’t blow so strraaaannngggeee” then Donna tops it off witha nice lil wail at 4:58. This part has always been a favorite of mine in this song, and its done well here. Bobby throws a slick lick at 5:40, then Jerry has some good inflection on the “Steal your face right off your head” lyric at 5:45-5:50. I have now totally forgotten about the hiss that was bugging me early on, Good Dead will do that! Quality stuff through 7:15 where they start the “Woooo, nothins gonna bring him back”. Again, Keith is essentially absent, just barely being heard, which sucks because this section of the song is a time for him to shine. Thankfully hes heard the most during this. The drums also increase in volume. Bobby makes a comment at 8:27 which is near impossible to understand, likely giving the sound guys something to work on. The vocal jam ends at 8:44. He’s Gone in the early 70’s allowed for some excellent musicianship and interplay between the band, with Billy taking mostly a backseat (still freestyling as always). Jerry doin some great stuff up high around 9:25. This is a textbook He’s Gone, and I don’t think I’ve ever given it the time of day as I always jump to the GSET, TOO or DEW. Jerry hittin some really high notes repetitively around 10:30. A quite solid ending jam, its certainly not the best (I really love 1973-02-28) but quite good. The boys are beginning to close the jam up at 12:30 and by 12:56 the cheers are heard as she comes to a close. Top notch He’s Gone.
A minute or so of tuning and some phil thumps
Greatest Story Ever Told
O YEA!!!!! Talk about a perfect song to have Phil up high. He is just thumpin. The work he’s doing is just amazing, perfectly groovy. Everyone is playing perfect but its hard not to just focus on phil, though jerry does steal your attention. At :53 phil starts hittin the low notes and you just can’t help but groove hard on this one. Still dominating the between verses jam at 1:20. Bobby is making himself noticed as well. Jerry showing whos boss with some great responses to Bobby’s vocals starting at 1:30 and ending at 2:12 where phil goes back to the low note thumpin mood shifter I mentioned above. The responses from Jerry after Bobby’s lyrics are just pure dynamite. The jam starts at 2:45 and Jerry lets out a sweet lick at 3:00. Just pure excellence the whole way through. Donna starts giving some decent wailing at 3:20 which evolves into some “dear god donna take it easy!”. To everyones heartbreak there is a reel flip at 3:32 Which just barely catches the ending. The cut hurts. However the cut seems to work, at least timing wise with the ending of the song. Its definitely abrupt. But after hearing this version enough to know it by heart, the cut ain’t so bad. Tho I’m an optimist. The transition for the reels seems to be flawless. Its very mysterious and wouldn’t mind some peoples input as to how a cut can sound that good.
About 2 minutes of tuning and just before Bird Song starts you hear a fan shout “Alligator!”
Flawless intro which lasts until :36 where Jerry starts singing. I really love bobby’s playing in the 72 Bird Songs. Phil does a nice climb around 1:09. The first chorus starts out at 2:00, “don’t you cryyyy, anymore, lada dada”. While Jerry doesn’t make any great rifts during this part its still great. The first jam starts around 2:50. Everyone is playing so well, and jerry is making the most of it. Phil begins to change the mood for a quick section at 4:35-4:45 which slows things down just for a bit. Billy is unfortunately back to being relatively low in the mix. Keith is non existent. The jam starts to get a quick other one vibe picking up pace at 5:36 and going to 5:50 but we fall back into a perfect Bird Song vibe which slows down and returns to the Bird Song theme at 6:10. Excellent playing! Drums quick from 6:24-6:32 and then PHIL! After really paying attention to these first 3 songs, I realize how amazingly well played they are. I wish we had the whole show :( The first jam ends at 7:10 with Jerry singing. Wait did I just hear Keith? Again, this mix is a curse and a blessing. The chorus comes back at 8:35 “Don’t cry now…” At 9:00 Jerry has a perfect response to the “Sleep in the stars” verse. The second jam starts at 9:24. The Other One vibe returns again shortly around 10:20. Phil Bombs at 10:48. Bird Song theme at 10:56. And the song ends nicely at 11:10 with jerry making some last second noises that die off at 11:25. A very well played Bird Song
Jerry says “We have a slight equipment break” which is followed by bobby saying the same thing in different words. Of course these nuts are always talking over each other. I think I’d hate to join a convo with the whole band, itd likely be a task to get anything in. Bobby, Phil and Jerry are heard playing a few rifts. I’m not sure whos having the problems.
1, 2, 1… 2… 3… 4…
Talk about thumpin! Phil is just hammering the truckin rift and, again, you just love it. The lyrics start after an 18 second intro. The dead air seems to make itself a bit more noticeable again, but maybe that’s because I just turned the volume up :) “They just won’t let you be, nooooo”. Not much to say at 2:00 in except everything is textbook, not the best, but certainly top notch. At 3:00 Bobby fucks up the lyrics, forgetting them for about 10 seconds. Get back truckin on! Starting at 4:00 Jerry and Bobby are both screaming, we enter the jam at 4:30 where phil drops a bomb and we’re off! Jerry and Phil take off at 4:44 to take us way up there. So much energy and with it finally dropping down just a bit at 5:00. Though everyone is still flying. The drums, might be the lowest in the mix they’ve been all night, at 5:30 I can barely hear them. And Keith… yea isn’t Keith in this band? In all honesty it doesn’t even matter. The playing is exceptional and packed full of major energy. The jam starts cooling off and slowing down at 6:10. Some good nobody’s fault and other one vibes getting tossed around 7:00. Jerry seems to want the nobody’s fault but Phil seems set on just playing, and honestly I can’t tell what bobby wants hah. Phil shows he wants the other one at 8:30 by playing some loud fast rifts and everyone immediately jumps on. Jerry hesitates and joins them at 8:44, but throws a last second nobody’s lick at 9:00. The first really close taste of the other one comes at 9:19 with phil. He does some jazz like climbs ditching the other one vibe at 9:30. At 10:00 phil starts tapping on his bass making it sound like a weird drum which lasts for about 18 seconds. Jerry starts speaking other one at 11:20 and Truckin ends at 11:30 where the Other one starts.
The Other One >
It starts off seeming harmless and nice but at :20 phil takes over and your whole house is shaking. He goes up and then down. An excellent intro to an other one, Jerry is shredding, bobby is doing his work. Phil thumpin, and unfortunately when everyone is loud Billy is almost impossible to hear, and like I said, Keith is out back on a smoke break. The other one theme returns at 1:37 with phil which is quickly ditched as only a mere taste of his freestyle. How many times have I said phil so far? The other one bass line returns at 2:34. Its never a bad thing to the get that bass line 3 separate times in less than 3 minutes. At the 3:00 mark the vibe starts to change to a more relaxed/slower jam, but wait…. Its phil again. ROUND 4!?!?! O yea baby!!!! Its 3:27 And Jerry steps off to let him at it. This is super stuff. You would think the lyrics are coming in, but no. Jerry is now much lower in the mix. The vibe changes greatly into a quiet jam again around 4:00. In the middle of this Phil gives more of his other one like climbs as Bobby and Jerry play delicate sounding music (5:30ish). Billy uses some Christmas sounding bells or chimes around 6:00. Phil is now dropping bombs at 6:18. This other one has a pretty unique sound. Hey its Keith! You’re back (6:40). Phil is back thumpin and teasing at the other one bass line at 7:45. He and Jerry are interacting nicely during this. That quick burst of energy dies off quickly into more relaxing and possessing an emotion I cannot describe. Love the vibe jerry brings at 9:10. Billy is audible and has been holding a nice steady vibe for the past minute as we find ourselves at 10:15. Phil and Jerry tease at the other one with phil bringing the bass again. Energy picks up and were back in the other one theme, its not the epic beginning theme, round 5 is somewhere near by. At 11:30 phil drops bombs and here round 5 is. At 11:42 Bobby starts the first verse. Jerry’s response to the second line of the verse is great and Phil’s line during the 3rd line is ultra sweet. Now at 12:21 the first verse ends and we are treated to my all time favorite bombs which are dropped at 12:25 and 12:28. The jam enters a slowed down spacey vibe. Bobby leaves the stage, either that or he’s having fun watching. Maybe Keith left with him. At any rate its Phil Bill and Jer and A tiger jam seems imminent. 13:45 we enter a short tiger jam which ends just after 14:00 in. At 14:30 we get more awesome phil bombs, at 14:37 and 14:41 as well. Bill is back down low in the mix, unfortunately. There is a cut at 15:35-15:38. Who knows how much time was lost as we enter into the end of a wicked tiger jam. Thankfully we hear what happens at 15:52-16:20 with phil making some sweet noises on his bass. This is seriously scary music! I recall playing this while painting for my mom and she was like “is this the grateful dead? Turn down the bass!”. Bobby reappears either back on stage or in the mix at 16:23. Now Billy seems to have left the stage. A few last second bombs around 17:25 and Jerry is starting to hint at Morning Dew. At 17:55 its merely Phil playin a few notes and at 18:12 the other one ends and we hear the opening chords of Morning Dew.
Phils line at :15-:19 is delectable. A perfect intro, though bill is way down and Keith is again, nowhere to be found. Phil is playing like a perfect lead guitarist and its amazing. Also, Bobby is playing perfectly, he is SOOO great in 1972-1974 morning dews. I love what he does with this song, as Jerry seems incapable of soloing while singing. Bobby fills this void great. At 2:20 phil has another great little line, he and Bobby are starting this Dew of perfectly. Hey I just heard Keith again (2:40ish). Jerry’s vocals are well sung, he brings the emotion while not over doing it, which tends to happen in morning dew. Its so great when he gets it right. I know I keep talking about phil, but I wonder if he would sound this great in other Dews if he was up this much. Though I feel like saying this is a perfect Dew (and show) to have him up in the mix. Perfect. The middle jam starts at 5:35 and Jerry is tearing up the guitar with bobby wailing and phil dropping bombs, no noodling for the phil man. BOMBS instead! This jam is executed as well as any of the jams out there. Again, I wish we had the whole show! At 7:09 the jam ends and we’re in the latter verses of Morning Dew. Jerry does some great inflection on his verse at 7:30. The emotion is perfect hear. Quiet and relaxed, we can hear billy again, though Keith is gone. Jerry sings the last line perfectly and we’re off at 8:55. Like any good 72 dew, this one starts of slowly and working out the quiet emotion of the song. The pace picks up slightly at 9:28. Again we take another notch up at 9:45 with jerry doing some good stuff. At 10:00 everyone is locked in and at 10:15 Keith shows up and brings some good licks in. The emotion everyone is bringing out of the melody is perfect. How about phil at 10:51-10:56 getting a cool groove going. Then its bombs for phil as jerry and bobby go nuts at 11:25. And Jerry sings the last vocals at 11:40ish and the dew is over at 11:55 with what sound like firecrackers going off. This dew could be longer but it is very well played, it will always be a favorite of mine.
And that’s all we have from this gem of a show. Possibly one of the best shows of Fall ’72, and due to the story behind these lost tapes, we’ll likely never know actually how great this show was. I hope you enjoyed it, and I hope I wasn’t too redundant with my descriptions. As you all know its hard to put it into words.
Most of the show being lost, and horrible mix problems aside… These six songs are more than listenable and the playing is through the roof. It’s a must listen for any fall 72 head. Cheers to a show that got me into the early 70s.